The Art of Bonsai Project - Penjing The Art of Bonsai Project Sometimes I step down into the ravine mirrored by the green rivulet, then again I sit at the ridge on a mighty rock. My mind resembles a lonely cloud no place were it pauses, in a far distance the dealings of the world - what else would I have to search for? - Hanshan Like a protecting roof this penjing arches over the scholar reading a book. A very harmonic composition! The pot is exceptional, with its age of almost 150 years. The glaze of the pot reminds us of the impermanence of things. A zen verse says: “Do not search for the master, search for what the master is searching for!” This motto could still be made more poignant by changing it to: “Do not search for what the master is searching for, search for what you are searching for!” In Europe we search what the master is searching for. Our bonsai creations are getting more and more beautiful and perfect. Our standard are Japanese bonsai masters that since about 80 years have aimed for perfection in bonsai.

If you have a look at the first small illustrated books of the Japanese Kokufu bonsai exhibitions, you will find many bonsai that, had they been presented on an exhibition today, would not attract much interest. These trees are not perfectly styled. If you look at the level of good European exhibitions you will realize that they have not only reached the Japanese standards, but sometimes even surpassed them. We have quickly learned and internalized the japanese bonsai techniques. We also are very near to perfection. This is not a quality judgement, just a statement. But the question is, what comes after perfection? Melancholy of Impermanence Pot and tree are a perfect unity. It is almost impossible to distinguish where at the pot’s rim the moss begins, and where it ends at the trunk. All shades of green swirl into each other and remind us of the chaos of Dao. The patina of the pots needs not to be dated, it touches the soul through our eyes. Penjing with miniature figurines, two officials or scholars playing a game of dice. The tree has a wild but expressive shape.

The pot is propably from KUANGCHOU in the province of Kwangtung, about 80 years old and hasn't aged very much. Let us go back about 21 years in the German history of bonsai. In 1986 a certain Paul Lesniewicz from Heidelberg had the courage to organize an exhibiton, taking up a suggestion from Dr. Wolfgang Habbel. The idea was to travel to the roots of the bonsai art in China, visit the places of different bonsai schools and show some exceptionally beautiful pieces in Germany. This idea was put into reality and so the first german “PENJING” Exhibition took place. For buddhist monks in early China, the single branch pads were “green stairways to heaven”. A beautiful penjing in a pot which is not very old or very well-preserved. PENJING ist the origin – it means 1000 years of bonsai. Chinese, Japanese and European bonsai are very different in what they express.

If you look at the illustrated book by Ilona Lesniewicz and Li Zhimin of the PENJING Exhibition in 1986, you will find trees that would have no chance to be shown on a renowned exhibition today. How is this possible? Penjing are trees in pots, like bonsai. The difference lies in the styling. Penjing does not aim at perfection, but at the expression of each tree, of each single tree. Trunk and branches are not designed very much, they are not extensively wired, mostly only shaped by cutting or bound with strings. PENJING means less stress for the trees and their owners, it means more inner and outer calmness, a cheerful mood, easiness and relaxedness. The same applies to PENJING pots - they are more colorful, more free in their shapes, often painted. I think this is a chance to try a different approach to bonsai now and then (it is also difficult for me to take off the Japanese glasses and look at bonsai from a totally different perspective!).

It is not a question of right or wrong, maybe the solution is in the motto mentioned above: “Do not seach for what the master is searching for…” - doesn't perfection get boring if it can’t be topped anymore? For further studies of PENJING I recommend the following books: Hanshan - Gedichte vom Kalten Berg Arbor Verlag Top 10: Chinese Penjing trees - Bonsai Empire Top 10: Chinese Penjing trees Top 10: Chinese Penjing trees Bonsai is a Japanese word, but the art of growing these trees originates in China, where it is called "Penjing". Penjing are often landscapes (where "Bonsai" are often individual trees). In this article we have listed the ten most beautiful Chinese Penjing landscapes. (#1) Ikadabuki (raft) style Penjing landscape, by Matyie Che Makhtar An ikadabuki (raft) style Penjing landscape, by Matyie Che Makhtar. (#2) Casuarina Equisetifolia landscape by Eddy Sebayang Spectacular and very realistic Penjing landscape by Eddy Sebayang, made up from Casuarina Equisetifolia trees.

Read more on Penjing and its Chinese roots in the Bonsai History article. (#3) Chinese Penjing landscape with figurine, by Matyie Che Makhtar Chinese Penjing landscape with figurine, by Matyie Che Makhtar. (#4) Penjing landscape by Yee-sun Wu Chinese styled trees; a Penjing landscape including a miniature house and figurines. For more photos, check our Penjing website. By: Yee-sun Wu. (#5) Penjing forest, by Zhuang Weijun Stunning Penjing forest, by Zhuang Weijun (#6) Penjing tree from China Penjing tree from China, a Bonsai landscape that includes a rock scenery and figurines. By: Estavios Bonsai. Wonderful Chinese Penjing tree, in bloom. Photo by: Estavios Bonsai. (#8) Rock landscape, by the Debreceni Bonsai Club Full scale Penjing landscape, including a Bonsai tree, water, rocks, trees and figurines. By: Debreceni Bonsai Club.

Bonsai Questions and Answers Bonsai and Penjing Questions and Answers I bought a small bonsai and have had it in my living room for several months. It's failing fast _ what should I do to save it? Put it outdoors, or at least move it to an indoor location with cooler temperatures, higher humidity, and abundant sunlight. Many bonsai, such as those crafted from junipers and maples, cannot live very long in the low light and high temperatures found indoors. At the very least, bonsai should spend the growing season outdoors. Temperate species can be left outdoors all year as long as they are not subjected to repeated freezing and thawing. Tropical plants like schefflera, weeping fig, and Natal plum can be grown as bonsai inside the home, as long as you can provide enough light and humidity and moderate indoor temperatures. In the past, bonsai specimens were almost always temperate plants, but more and more tropical bonsai are being produced so those without an outdoor space for bonsai can enjoy them as well. What's the difference between bonsai and penjing? Bonsai and penjing are closely related art forms.

Penjing takes its name from the Chinese name for miniature trees or landscape plantings and predates the development of bonsai. Even rock landscapes that lack plant materials are considered penjing. Elements of penjing eventually migrated to Japan and became known as bonsai, which is the Japanese word for miniature trees and forest plantings. Landscape stones that lack plant material are called beanstalk. In the past, penjing took on unusual shapes that were symbolic, and sometimes the styling of early penjing was far from the natural form of the plants used. Over time, bonsai slowly began to adapt a more naturalistic, free flowing style. More recently, some penjing have also come to embrace a style that echoes nature as well. Today, it is very difficult for those outside the bonsai and penjing communities to tell the difference between bonsai and penjing. Both are outstanding examples of Asian art expressed in plants and natural materials, and both forms continue to evolve. What is ikebana? Ikebana is the ancient Japanese art of flower arrangement.

It is a disciplined art form in which rules of placement guide the flower arranger to strategically place natural materials in an appropriate container; the finished product evokes a deep appreciation for the symbolism of nature and the ikebana artist's creative expression. Many distinct schools of ikebana have evolved over the years. What is suiseki? Nature and time weather stones into shapes that sometimes suggest miniature landscapes, human forms, animals, or even flowers. These stones are collected by enthusiasts and are known as viewing stones. In China, they are sometimes called scholar stones. In Japan, viewing stones are called suiseki. The value of a given stone is related to its beauty, color, form, and rarity. Sometimes stones are cut to create a flat surface on the bottom, but this decreases the value of the stone. Suiseki are not usually polished or sealed; they are displayed as nature has created them. Suiseki are often displayed in a tray, or suiban, on a thin layer of sand or stone chips, or on a wooden base known as a daiza that has been carved to fit the stone. How often should I water my bonsai or penjing piece? We generally water our pieces once a day.

In the heat of summer, they are watered more often; in winter, they are watered less frequently. Other factors, such as humidity, cloud cover, temperature, and the time that has elapsed since the last repotting are taken into account for each piece to determine whether or not it needs to be watered. How often should bonsai pieces be repotted? Repotting may be done as often as every year, but for older specimens, the interval may be as long as five years. Older trees need less frequent repotting; the goal is to maintain their existing proportions, with moderate growth. Bonsai specimens are repotted to refresh a portion of the soil and to renew the vigor of the plant, not to produce a noticeable increase in size. I'm very interested in the Asian art forms of bonsai, penjing, suiseki, and ikebana. Where can I find more information? A good place to start is the National Bonsai Foundation (NBF) at . Here you will find lots of links with access to bonsai and suiseki information of all kinds. Information on all of these related Asian arts can also be found at The Bonsai Site .

If you'd like some tips on finding sources for bonsai, look for help in our Plant Sources Page . Chinese Collection | National Bonsai Foundation Search Chinese Collection The Yee-sun Wu Chinese Garden Pavilion was completed in 1996 for the display of Chinese penjing. Named in honor of Dr. Yee-sun Wu of Hong Kong, the pavilion’s purpose is to preserve China’s seminal role in developing the art form called penjing by the Chinese and bonsai by the Japanese. Photo: Joe Mullan The Chinese Collection at the National Bonsai & Penjing Museum resides in the Yee-sun Wu Chinese Garden Pavilion. This pavilion is named in honor of Dr. Yee-sun Wu (1905-1995) who was a Hong Kong collector of penjing. Penjing, the antecedent art form of bonsai, can be dated back to the Tsin Dynasty in China (265-420 A.D.) There are many schools of penjing and Dr. Wu was a proponent of the Lingnan School and maintained a collection of over 300 trees.

In 1983, Janet Lanman, a NBF Board Member, approached Dr. Wu with the suggestion that penjing should be included in the Museum’s collection. Dr. Wu agreed and he graciously offered trees to the Museum and funding for a Pavilion to house them. In 1988, U.S. National Arboretum Director, Dr. H. Marc Cathey accepted the gift and referred to the Museum for the first time as: “The National Bonsai & Penjing Museum.” In 1996 the pavilion was dedicated and a sign over the entrance in Chinese calligraphy states: “Dr. Yee-sun Wu – A place where plants are trained and cultivated under the hand of a man of letters.” There are now 36 trees in the Chinese collection and work is underway to add new trees in coming years. Chinese Pavilion Window CHINESE PENJING PORTAL PAGE CHINESE PENJING PORTAL PAGE An exposed root Natal Banyan (Ficus natalensis) named "Benevolent Dragon" represents the Chinese emperor protecting his subjects; trained utilizing Chinese philosophy concepts.

The Chinese calligraphy is "pun-sai." The same characters became the Japanese "bon-sai." China has the world's oldest civilization and the oldest proof of a form of artistic pot plants. But the paintings on the tomb walls are nothing like the bonsai of today. Aristocratic Chinese penjing are also nothing like the commercial bonsai currently being produced in Chinese communes for export. Aristocratic Chinese penjing are the products of a society that no longer exists. Its leaders had an extra brilliance and others naturally followed. Most Chinese never had formal schooling opportunities and learned farming or a trade by doing. Of those that went to school, only the brightest and most promising advanced to become literate. Of these, only the most successful and wealthy had the time and interest to be part of an elite aristocratic society. Aristocrats were secure and confident in their status. They dabbled in many of the Chinese cultural arts including penjing. They were "generalists" who weren't especially concerned about details. They enjoyed growing plants in pots for their own amusement and growing an "ugly weird tree" was appropriate as it was a great conversation subject with visiting friends.

To try to give a flavor, we invented two rules: PENJING RULE #1: "SMILE!" Penjing is an art and a hobby to be enjoyed. When you smile, your mind opens up, you create, and you enjoy! The Art of Bonsai Project - Penjing: A Chinese Renaissance The Art of Bonsai Project Discuss this article >> Chinese Elm (Ulmus parvifolia) created by Wang Huaishun from Ningde, Fujian Province. The height of the tallest tree is 44". In the West, penjing has come a long way. For decades, the art of dwarfing trees in containers had been attributed exclusively to the Japanese. Bonsai, we were told, was a Japanese invention. The first teachers were Japanese, and the first books were translated from the Japanese or written in English by Japanese immigrants. But then there was Wu Yee-sun, a wealthy Hong Kong banker. He not only possessed a sizeable collection of miniature trees and landscapes but the wherewithal to speak for a country that had become impoverished and isolated from the rest of the world although for over a millennium, it had been the leading cultural influence in Far East Asia. Mr.

Wu's title "Man Lung Artistic Pot Plants", first published in 1969 and re-issued in a second and enlarged edition in 1974, caused a stir in the monolithic bonsai universe because he maintained that in China, the art of miniaturizing trees had roots extending back well over a thousand years! And the claims of this "cultured farmer" ("man lung") were just the beginning. In the mid 1980's, two books by Hu Yunhua, a mainland Chinese author, became available in English. "Penjing: The Chinese Art of Miniature Gardens" (Timber Press, 1982) and "Chinese Penjing: Miniature Trees and Landscapes" (Timber Press, 1987) both showcased penjing from various geographic regions of the People's Republic. While many of the trees appeared crude and imperfect to the eyes of bonsai artists trained in the Japanese tradition, they also exuded a spirit of bold personality and brave artistic expression that some Western artists did not fail to notice. Then came the first exhibits and the first visits by Chinese artists on U.S. soil.

A few Americans revealed that their initial exposure to penjing resembled a coming-out-of-the-closet type of experience. A genuine liberation. They rejoiced over the fact that the straightjacket of rigid rules and regulations had been cracked and permission granted to pursue a greater level of artistic experimentation. Since the early days, this chorus has grown steadily. Meanwhile, bonsai enthusiasts in warm climates discovered that the more intuitive and free-flowing styling methods of Chinese artists suited their natural environment better than many classical Japanese methods. They found that the vivacity and profuse grace innate to tropical species such as Ficus or Bougainvillea call for a less formal approach to tree art. Fig (Ficus retusa) created by Ye Mingxuan from Guangdong Province. This tree, 42-1/4" tall, has been defoliated for an exhibit to show its fine ramification. It is planted in a 41" container. These advances in the West became possible because by the late 1970's, after many decades of wars and imperial domination, destruction, famines, revolution, international isolation and Communist experiments, the giant formerly known as the Middle Kingdom was stirring and realigning itself.

Unknown to the rest of the world, some men had bravely begun to re-evaluate penjing in the hope of revitalizing this ancient art. There were formidable obstacles. Many fine collections had perished in 100 + years of man-made disasters. And much of the former art had degenerated into regional "schools" consisting of craftsmen and folk artists determined to coerce trees into weird, pre-conceived shapes such as dragons, cloud layers, and so on. Undaunted, these visionaries resolved to connect with the lofty spirit of earlier times and to build on their time-honored tradition while experimenting with new forms and techniques. Eventually, a genuine renaissance got underway. And with the substantial economic growth that began in the 1980's and continues through today, particularly the stability that rising living standards have brought to people's lives, penjing in China has once more become a force to be reckoned with. Personally, I was fortunate enough to spend five years among Chinese people in the 1980's, learning their language, their culture, and their ways. I witnessed many of the changes described above first-hand.

While the initial purpose of my visit was to teach English and study Chinese, I secretly hoped to find access to China's classical culture and art. When I discovered penjing and met some of China's finest artists, I knew I had hit a home run because it offered me a window into the mysterious and elusive realm of traditional culture. Learning all I could about penjing and its cultural context became my personal passion. And from the late 1980's on, I have communicated my growing understanding and appreciation to Western bonsai enthusiasts. This series of articles is my most comprehensive effort to date to share my knowledge of the ancient art of penjing with a wider audience. What exactly is penjing, and how does it differ from Japanese bonsai? There are people who maintain that penjing is nothing but the Chinese word for the same kind of tree art. This is just a little too simple. It is true that to the uninitiated, similarities between bonsai and penjing will always outweigh their differences. However, when people view themselves as enthusiasts, practitioners, collectors, connoisseurs, or even artists, I think a little more distinction and cultural sensitivity is called for.

Left - The ideograms for the word pronounced "bon-sai" in Japanese. "Bon" denotes a pot or container; "sai" means a plant or tree. In Chinese, this word is pronounced "pen-zai". Right - The ideograms for the word pronounced "pen-jing" in Chinese. The character for "pen" is identical with the one for "bon" and also refers to a pot or container. "Jing" translates as a scenery. First and foremost, there's a major difference in the scope of these two related art forms and the materials used. The two characters used by the Chinese and the Japanese to denote their art offer a critical clue. You will notice that the first ideogram in both sets is identical, although it is pronounced "bon" in Japanese and "pen" in Chinese. In both languages, this character means a pot or container. The second ideogram is the one that reveals the difference. "Sa"i translates as plant or tree; whereas "jing" means a scenery. Bon-sai, then, literally translates as a tree in a container, and pen-jing denotes a scenery in a container.

Consequently, the bonsai artist only works with plant material, miniaturizing one, two, or several trees and presenting and maintaining them in a container to suggest a natural scene. The penjing artist may do just that, or he or she may work with natural stones or rock as artistic medium. Stones can be used to accompany or enhance one or several trees, or an entire composition may be created with rocks as the major ingredient. For the Chinese, all of that is penjing. It's a much wider concept and actually encompasses what the Japanese call bonsai. By contrast, a penjing consisting of a landscape on a slab created entirely from rock could never be called a bonsai. The following 3 drawings represent the 3 forms of penjing practiced in today's China: Tree Penjing (shumu penjing): This form is most similar to the Japanese concept of bonsai. The composition consists of one, two or several trees; rocks may or may not be used as supportive design elements. Landscape Penjing (shanshui penjing): In this form, an idealized landscape is created using rock as the main artistic medium. Small trees or accent plants may or may not be incorporated in the design.

Water-and-Land Penjing (shuihan penjing): This relatively new form combines the former two types of penjing and uses both trees and rocks to represent a forest scene. The design typically also incorporates a water feature, which could be a river, creek, or the shoreline of a lake. So maybe it would be appropriate to call designs with only trees bonsai and compositions that involve stones or rock penjing? I don't think so. After all, penjing is the much older art form from which bonsai derived. And even where only trees are involved, Chinese creations often look distinctly different. Frequently, designs appear bolder, livelier, and more playful, sometimes even bizarre. By contrast, Japanese bonsai tend to look neater and more formalized. Regarding the latter, there is a greater sense of control; the viewer gets the feeling that not even the most minute detail has been left to chance. The minimalism of many Japanese designs can feel comforting and safe but it also produces a high degree of predictability. By and large, it seems that Japanese artists have a strong tendency to impose order on their creations whereas Chinese artists appear willing to embrace a measure of chaos. Clearly, they are less concerned with rules and the pursuit of perfection.

Does it mean that there are no rules in penjing at all? Absolutely not. Conversations with penjing artists reveal that they are less interested in displays of technical virtuosity and ideal form. Instead, they seek to capture and convey sentiment and mood in their work. Their goal is to reveal an inner beauty, an essence inherent in nature. In traditional China, penjing, at the highest level of the art, was practised by the scholars, and the aesthetics and art theories formulated by these men shaped the course along which penjing evolved. And while there is no scholar class in today's China, modern artists clearly view penjing as a literati art and take their cues and inspiration not only from ancient writings but from the other arts the scholars enjoyed, particularly painting, poetry, calligraphy, and garden art. The close connection between penjing and painting is particularly well understood. In my upcoming articles, I will highlight the cultural and spiritual context of penjing and discuss why and how these other literati arts have fertilized the art of creating miniature trees and landscapes. This large landscape on a 59" white marble slab created by Qingquan 'Brook' Zhao showcases one of three forms of penjing found in China today.

The main artistic medium used here is rock; plants are used for accent only. This is a unique Chinese creation – it would and should never be called bonsai. Why bother, you may ask. Can't we just create cute little trees without learning about philosophies and cultural influences? Of course you can. You can practice penjing or bonsai at any level. If you only want to be a craftsperson who learns and applies techniques to copy what someone else has created, don't bother to read on. If, however, you aspire to a higher level and deeper understanding, you'll need to go to the source – the culture of traditional China. You'll find that when you begin to view penjing with Chinese eyes, an entire new world of insights and possibilities will open up. After all, penjing is a synthesis between nature and art. Most of us don't have much of a problem with the nature aspect. Nature, while varying a great deal from one region and climate to the next, can display a surprisingly universal quality. Similar landscapes can be found in many parts of the world. We can tune into them and understand them fairly readily.

Art, however, is culturally determined and can be quite unique, and the doors to comprehension and appreciation may not open to the novice. However, if we want to succeed at the art part of the equation, we need to try for a closer understanding of the aesthetics and values of those who created this art before us. I've been approached by quite a few Western bonsai and penjing enthusiasts who ask for advice on how to go beyond a mere copying of Asian artists to something more deeply satisfying. They want their work to capture their own personality, their unique perception of the world around them, their own sensibilities. They want it to convey their very own spirituality and understanding of nature. These are great questions with no easy answers. But I think the ancient practitioners pondered these very same questions. Revisiting their world with honest curiosity and open-mindedness may reveal important guidelines and establish some signposts that can help lead us onto our own unique paths. To get there, it seems equally important to address issues pertaining to the provenance of the art with fairness and sincerity. Lineage, an important concept in Chinese and Japanese art, needs to be handled with integrity and sensitivity if we want the art to thrive.

Yet most of the bonsai literature is filled with misconceptions on the subject of cultural transmission. Princess Persimmon (Diospyros armata) created by Xu Ronglin from Yangzhou in Jiangsu Province. The tree is 27-1/4" tall, the container length is 21". Bonsai, just like Zen Buddhism, is commonly described as a Japanese invention. Once people become more seriously involved, they learn that tree art and Zen had their roots in China. However, a theory has persisted which claims that the beginnings there were nebulous and insignificant. The story goes that once Zen and miniature trees were taken to Japan eons ago, the islands offered the perfect environment for both philosophy and art to flourish in complete isolation from mainland influences. Since Zen blended perfectly with the indigenous Japanese culture and psychology, we're told, Japan provided the fertile soil in which the practice of miniaturizing trees evolved into art. I think the time for more serious and responsible scholarship has come. The shelves of any good university library are filled with books by Far East Asian scholars, and their research shows a clear consensus that for over 1000 years, China was the major cultural and artistic influence in that part of the world.

These books leave no doubt that the impact of Chinese philosophy, literature, painting, calligraphy, garden art, and medicine was both far-reaching and ongoing. Since the transmission of culture from China to her neighbors was not a single, isolated event, it is equally naïve to imagine that some time in the 6th century, there was a one-time transplanting of miniature trees from China to Japan, as some bonsai books suggest. As a matter of fact, nobody can ascertain when the forerunners of today's penjing and bonsai first arrived on Japanese shores. But since we do know that Japanese philosophy, literature, the visual arts, customs, and fashion, over the course of many centuries, either followed Chinese models or were profoundly shaped by Chinese events, experiences, and tastes, we must assume that dwarf trees in Japan, too, for a long time were styled and maintained with horticultural knowledge and artistic and aesthetic inspiration gleaned from Chinese sources and with the guidance offered by visitors to and from the Middle Kingdom. The Tang monk Jian Zhen became the founder of Japan's Ritsugaku sect of Buddhism. His vast contribution to Japan's culture has long been recognized.

This lacquer statue of Jian Zhen, a national treasure of Japan, is housed in the Toshodai Temple in Nara. Stephen Addiss ("Japanese Quest for a New Vision: The Impact of Visiting Chinese Painters, 1600-1900") identifies three distinct waves of Chinese influence. The first wave occurred in the 6th and 7th centuries and brought a system of writing, political and educational improvements, Buddhism, and various art forms. Addiss writes: "The sixth and seventh centuries saw the wholesale transformation of Japan into a country modeled strongly upon Chinese customs and principles". The second wave spanned the 13th and 14th centuries; a major import at this time was Zen Buddhism and the culture and arts associated with it. Japanese delegations to China at that time included her two eminent monks, Eisai and Dogen. As a result of this major transmission, Zen monasteries in Japan became a significant cultural force and centers for Chinese-style poetry, calligraphy, and ink painting. However, Japanese interests were not confined to Zen.

Alan Watts ("The Way of Zen") observes that Japan's craze for things Chinese reached a fever pitch in the Southern Song Dynasty (1127-1279): "It was during this same period that Eisai and Dogen came from Japan to return with Zen to their own country, to be followed by an incessant stream of Japanese scholar-monks eager to take home not only Zen but every other aspect of Chinese culture. Shiploads of monks, amounting almost to floating monasteries, plied between China and Japan, carrying not only sutras and Chinese classical books, but also tea, silk, pottery, incense, paintings, drugs, musical instruments, and every refinement of Chinese culture – not to mention Chinese artists and craftsmen." Penjing artists often use solitary figurines and small structures like bridges, pagodas, and boats in their designs because these traces of human existence are frequently found in painting. Penjing and painting enjoy a very close connection. This scroll by 17th century artist Lan Ying entitled Conversing on Antiquity depicts two scholars on a riverbank engaged in a dialogue while enjoying the beautiful outdoors.

In comparison to the two trees and the bizarre rock in the foreground, the two humans are tiny in scale. This composition reflects traditional Chinese philosophy: Man belongs and is part of the natural world but his role is minute. The third wave was not as monumental and far-reaching as the two preceding it. It took place from the 17th to the 19th centuries and included the adoption and promotion of neo-Confucianism by Japanese leaders and a new style of ink painting modeled after China's literati painting that became known as Nanga. Nevertheless, the impact was profound. It is critical to understand that when Nanga artists like Taiga adopted the painting style of China's literati, their interest was not limited to certain techniques. Instead, they "borrowed" entire motifs from Chinese culture and history and recreated these in their works. Examples are, among others, the coterie of erudite, like-minded men sharing scholarly avocations, the four scholarly accomplishments, and the mountain hermit who withdrew from society to seek refuge in the liberating realm of nature. For clarification on these important issues, I feel particularly indebted to the excellent study "The Politics of Reclusion: Painting and Power in Momoyama Japan" by Kendall H.

Brown, Professor of Asian Art History at California State University at Long Beach and Japanese garden consultant, as well as the equally outstanding book "Taiga's True Views: The Language of Landscape Painting in 18th Century Japan" by Melinda Takeuchi, Professor of Japanese Art at Stanford University. One of the many intriguing facts revealed by Dr. Takeuchi is the insight that "first- and second-generation Nanga painters wore Chinese robes, drank Chinese tea, and cultivated Chinese plants from imported seeds". The life experiences, traditions, and sentiments as well as the aesthetics imparted in many traditional Japanese arts had their origin in imperial China. The Japanese contribution should mostly be seen in the manner in which philosophies, themes and cultural icons from China were given specific form in the island nation's literature, the visual arts, and special celebrations such as the tea ceremony. In most cases, the Japanese have used original ideas and cultural components from China and preserved, re-interpreted, idealized, formalized, stereotyped, and dramatized them to suit their own context at a particular time. They've done so exceedingly well and deserve our admiration.

Moreover, we owe them our gratitude for having introduced tree art to the West at a time when China had closed her doors. Nevertheless, China should be honored as the source and originator of many outstanding arts, including penjing. Shimpaku Juniper (Juniperus chinensis) by unknown artist. The length of the marble slab is 15". The Chinese have formulated fewer rules about the creation of penjing than their Japanese colleagues, and the artist enjoys a greater freedom of expression. Small miniatures may be used to enhance the lyrical mood of a scene or to establish a sense of proportion. If included, they must be used sparingly and tastefully. They should never dominate the composition. In all art, influences are complex, and penjing and bonsai are no exception. By focusing on China as the root, I hoped to address some of the above-mentioned misconceptions and to clear a path for much needed corrections. At least my articles – iconoclastic as they might appear - might stimulate a meaningful and profound exchange of opinions and, in turn, unleash creativity and open up new horizons. I hope to see artists from all over the world transcend the Chinese and Japanese traditions to find their own vision and their own voice.

If art is the language of the soul, isn't that what both bonsai and penjing should be all about? The Vast Brightness Buddhist Temple (Daming Si) in Yangzhou, Jiangsu Province, built in the 5th century. During the Tang Dynasty (618-907), the monk Jian Zhen departed from this monastery to take Buddhist teachings to Japan. He participated in the first giant wave of cultural transmission that introduced all aspects of Chinese civilization to Japan. In 1980, Elder Morimoto from Nara's Toshodai Temple and other monks and luminaries from Japan visited the Vast Brightness Temple in Yangzhou as part of a homecoming tour to honor Jian Zhen and to celebrate the friendship between the Chinese and the Japanese peoples. In this photo, the visitors are greeted by Master Neng Qin and other Chinese monks from the Vast Brightness Temple. Suggested Reading: Addiss, Stephen, ed. Japanese Quest for a New Vision: The Impact of Visiting Chinese Painters, 1600-1900. Lawrence, Kansas: Spencer Museum of Art, 1986. Brown, Kendall H.

The Politics of Reclusion: Painting and Power in Momoyama Japan. Honolulu: University of Hawaii Press, 1997. Smith, Bradley, and Wang, Wan-go. China: A History in Art. New York: Harper & Row, 1973. Watts, Alan. The Way of Zen. New York: Vintage Books, 1957. Takeuchi, Melinda. Taiga's True Views: The Language of Landscape Painting in Eighteenth Century Japan. Stanford: Stanford University Press, 1992. Reprinted with the permission of the author, Karin Albert and venuscomm.com A fully illustrated version of this article first appeared in "Bonsai Today" #98 (Issue 4/2005) and a corrected version in #101 Karin Albert Karin Albert spent five years in China during the 1980's teaching English, studying Chinese, working for a U.S. company, and starting her own business. While searching for remnants of the traditional culture she admired, she discovered penjing and came into contact with some of China's finest masters.

The study of this time-honored art, once practiced by China's literati, opened a window to the very heart of China's ancient classical culture. Karin became fluent in Mandarin Chinese, married one of her English language students, lived with a Chinese family, and studied calligraphy, poetry, landscape painting, and garden art. She was the first foreigner to join the Shanghai Penjing Society and started, with her then-husband, a Chinese-U.S. joint venture company that would eventually grow into one of the largest importers of bonsai and penjing, pottery, clay miniatures, and other horticultural items in this country. Karin is the translator of Hu Yunhua's Chinese Penjing: Miniature Trees and Landscapes (Timber Press, 1988). She also translated and designed Zhao Qingquan's book Penjing: Worlds of Wonderment (Venus Communications, 1997), now widely considered a classic. Recognizing Mr. Zhao's mastery, she introduced him to audiences in North and South America and often appeared alongside of him, interpreting his art and articulating Chinese concepts and aesthetics.

Karin is particularly interested in Daoism and Buddhism and the philosophical and spiritual aspects of miniature tree and landscape art. She has written and lectured extensively on penjing for over twenty years. For information about Karen Albert, please see Dateline Bangkok: Penjing Penjing Penjing, a form of Chinese horticulture that dates from the Han dynasty, is "a living art form using miniature trees grown in containers (pots or trays), along with shaped rockeries and other materials, to create aesthetic representations of natural landscapes." Penjing: The Chinese Art Of Bonsai - A Pictorial Exploration Of Its History, Aesthetics, Styles, & Preservation is the most authoritative English-language guide to penjing. Author Zhao Qingquan is also a penjing artist, and many of his own works are reproduced, though there's also a historical section illustrated with depictions of penjing from Chinese paintings. The book also includes a taxonomy of the three categories of penjing: 'shumu' (tree), 'shanshui' (landscape), and 'shuihan' (water and land).

Each of the three styles of penjing has an equivalent in Japan: the Japanese art of bonsai was influenced by shumu penjing, saikei resembles shuihan penjing, and bonkei is similar to shanshui penjing. Shuihan penjing also influenced Vietnamese hon non bo. (Another Chinese art form, the scholar's stones known as gongshi, inspired the similar Japanese suiseki and Korean suseok.) chinese bonsai tree Grow a Chinese bonsai tree! Hi there! Welcome to our page on the Chinese bonsai tree! Thanks for stopping by, and thanks for taking an interest in bonsai! Growing and caring for bonsai really is a satisfying hobby........ Nothing like getting back to nature to soothe the soul! So you're looking for information on a Chinese bonsai tree, or on the culture itself? Well, you have come to the right place! Lets start with a 'did you know?' Did you know that bonsai is in fact a Chinese practice? The word Bonsai is a Japanese pronunciation of the Chinese term penzai, which means 'tray plant'. The umbrella term in China is Penjing, meaning 'tray scenery'. The difference between the two terms is this..........

When you are talking about a tree, you would use the term penzai, when you are talking about the landscape it is a part of, you would use the term penjing. Pretty simple!!!! The practice under these terms generally consists of growing trees or plants in small pots/containers, utilising skilled pruning to dwarf and form aesthetically pleasing shapes . This ancient art form eventually gave rise to Japan's interest in the art; the more popular term for the art becoming bonsai, as the rest of the world became interested. So, let it be said that whilst Japan is often credited with the introduction of bonsai to the world, it was actually China that founded the art! Various historical influences led to this being so, such as the USA's Chinese Exclusion Act, which favoured the Japanese people and culture over the Chinese. Obviously, this led to bonsai being accepted as the art of tree dwarfing, leaving the Chinese creditless....... Well now you know different! So, we hear you ask........ What is the difference between a Japanese and Chinese bonsai tree? Nice question. Lets find out! The main visual, or aesthetic differences between bonsai and penzai/penjing lay in the shapes.

Bonsai adopt a more refined and controlled appearance, with proportionate trunks and neutral looking pots . Bonsai tends to keep branches short and controlled and the trees will adopt a very refined shape. Penjing/penzai are generally cultivated to appear rugged and wild. Special attention is given to allowing branches to flourish outwards, giving the chinese bonsai tree the appearance of breaking free. More colourful and outlandish pots can be used, which can be fun, if you yourself, want to break free from the strict regime of bonsai! As our world continues to evolve, and cultures mingle, lines are becoming blurred between what is bonsai and what is penjing/penzai. Even the experts are often left confused. We here at bonsai-made-easy.com want to help you learn the difference......... Lets take a look at 2 great examples! See if you can make the distinction yourself! How did you go? Well, in the first photograph, you will notice the extended branches and the very rugged appearance. Yep, you guessed it! That is a chinese bonsai tree, a Penzai, from the art of Penjing.

The second photograph brilliantly displays a very refined appearance, evident in the short branches, symmetrical foliage pads and a full, thick, proportionate trunk. You may well be asking "What are the best species of tree to grow Penjing style?".............. In the interest of keeping within our mission statement of keeping things simple, there are 3 species of tree that are easy to grow and well geared towards the art of penjing specifically. Little hint too - Growing a Penjing style tree can be easier than Japanese bonsai. Less attention goes into the trimming back of branches! Our picks for the Penjing style of chinese bonsai tree are: Bonsai Virtual Tour The miniature masterpieces that we call bonsai and penjing are the pinnacle of gardening skill, and the National Bonsai & Penjing Museum has one of the largest collections of these timeless trees in North America. The Japanese art of bonsai, and its precursor, the Chinese art of penjing, are rooted in the traditions of Asian culture. The placement of branches, styling, and the pot all convey deep symbolism and reverence for nature. The National Bonsai & Penjing Museum, established in 1976, is the most comprehensive of its kind in North America.

It is dedicated to the display, education and scholarly study of bonsai and related art forms. The National Bonsai & Penjing Museum is undoubtedly one of Washington's key attractions for plant lovers. We provide for you here a 'short' Virtual Tour of the National Bonsai & Penjing Museum. You are invited to start at the begining and follow the "slides" through the Ellen Gordon Allan Entrance Garden, the Cryptomeria Walk, the International Pavilion, the Chinese Pavilion, the Japanese Stroll Garden, the Japanese Pavilion, the North American Pavilion, the Tropical Conservatory, and the Lecture/Demonstration Area. If you prefer, and/or are a return visitor, you are welcome to start at a specific pavilion or garden, or even at any point along the path. Start here, at the beginning. Go directly to a specific Pavilion, Garden or anywhere on the Tour by clicking a specific spot on the Map below. Browse thumbnail images of the Virtual Tour with links to each specific spot. Chinese Bonsai, Chinese Pun-sai, Chinese Penjing What is a Bonsai? Beautiful bonsai of a banyan tree Chinese Bonsai is the art of designing a miniature tree in a shallow pot or container.

Bonsai (which translates to 'tree in a pot') is also known as 'pun-sai' and 'penjing' (the word 'Pen' means container or pot and the word 'jing' means scenery). Chinese Bonsai, inspired by nature, originated in China around 1300 years ago. Originally Bonsai was practiced only by the elite of ancient China. The miniatures trees were considered a luxury and were given as gifts. Around 1100 AD Buddhist monks brought the Bonsai to Japan and the art was adopted by the Japanese. It was not until the early 1900’s that Bonsai spread to the rest of the world. Bonsai is often viewed as an object for meditation. The designing of the Bonsai tree is contemplative, a Zen practice. Chinese style meditation encourages liberation of the mind; encouraging it to flow in its own natural way. Creating Bonsai, arranging rocks in the miniature landscape, clipping and the adding of new elements is a process of active meditation. Something new may be discovered, and having flowed naturally out of the mind it is harmonious and lifts the spirit.

The purpose of Bonsai is not just to re-create nature in a pot, but to actually capture the spirit. The Chinese see the universe as having two sides of cosmic energy; this is called the yin and the yang. In a Bonsai tree, this is depicted through drama, rhythm and balance. Overall unity is important, therefore, many considerations have to be made. These include the type of container, the placement of the Bonsai tree, the species of the tree, the size, shape and color of the tree as well as other details such as the rocks which also have to be chosen just so. Classifications Chinese Bonsai can be classified into several groups including size, the province from which they are derived from and the type of Bonsai. Although Chinese Bonsai comes in many sizes, Chinese Rock Bonsai stands out because they are available from just a few centimeters in height up to two meters in height. Provinces throughout China have their own genres, or schools, of Bonsai.

Among them are the Suzhou School (featuing 'Tree Branches Overhanging a Cliff'), the Zhejiang School (featuring 'Tall Trunk'), the Sichuan School (featuring 'Reclining and Slanting Trunk'), the Hunan School (featuring 'Hanging Cliff'), the Hubei School (featuring 'Flat-Top'), the Liaoning School (featuring 'Earthworm Curves'), the Beijing School, the Shanghai School and the Lingnan (Guangzhou) School. Types of Bonsai include tree Bonsai, landscape Bonsai, flower Bonsai, plant Bonsai and rock Bonsai. Famous Producing Places of Chinese Bonsai Lovely Bonsai at Suzhou Garden Famous Bonsai producers in China include the Shanghai Botanic Gardens whose mission is preventing plant extinction and educating people. With over 150 Bonsai gardens, Suzhou is believed to have the loveliest Bonsai gardens in China. One of Suzhou’s many gardens, the Humble Administrators Garden, is listed as a World Heritage Site.

The Hangzhou Flower Nursery in Zhejiang is famous for its two-and-a-half acre Bonsai garden that includes 3,500 Bonsai plants. Choosing a Bonsai Choosing the proper Bonsai tree is important. Inspecting the roots of the tree, if possible, will help in determining whether the tree has a good foundation or not. The shape and movement of the Bonsai’s trunk will determine the classification. The branches on the lower portion of the tree should be thick and the branches on the upper portion of the tree should be thin. The tree should appear healthy; the leaves of the tree can tell a lot about the health of the tree. Bonsai Display Bonsais are usually viewed alone, meaning there are no other plants, decorations or clutter near them. Many homes in China have a special place (shelf, table or alcove) in which they display their Bonsai. A Bonsai can be displayed with an object that compliments it, however, something like a painting or a scroll that is hung at a higher viewpoint.

A well-chosen rock can set a mood, a stand set up just for the Bonsai can make a strong statement and accent plants, such as grasses, can act like a bamboo grove. Viewing platforms are often changed with the season for different scenes. Care and Maintenance Bonsai plants need regular care just like other plants. Watering, fertilizing, trimming and the occasional re-potting (every three years or when the roots are bound) will ensure that the Bonsai is healthy and lives long. The art of Bonsai takes patience and diligence but with proper care, a Bonsai will repay the owner many times over. You Might Like

Question: What is the Japanese equivalent of the Chinese art of penjing?
Answer: Bonsai